India Went Crazy: The WarpCam BTS That Lit Up the Press

India Went Full-Throttle Over Jawan: The WarpCam® BTS That Lit Up the Press (and What We Really Shot on Set)

When Jawan hit cinemas, it didn’t just explode at the box office—it triggered a wave of behind-the-scenes curiosity. One short BTS moment—Shah Rukh Khan executing a high-risk truck/bridge sequence under full safety protocols—got picked up across India’s biggest entertainment and news platforms. Within hours, coverage spread through outlets like India Today, The Indian Express, Hindustan Times, Times of India, Zee News, Filmfare, MensXP and more.

I’m Ferdi Fischer—action director / stunt coordinator and the inventor behind WarpCam®—and Jawan was one of those rare productions where action design, performance, and camera innovation all had to lock together at the highest level.

This post is my “from-the-floor” recap: what we shot, how we built the WarpCam® ecosystem into the action unit workflow, and why that one BTS clip went so viral that it became a mini news cycle of its own.

The BTS clip that turned into a national news cycle

The clip that set everything off showed SRK executing a major stunt beat—jumping from height to land on/near a moving vehicle sequence—fully rigged, rehearsed, and controlled. Multiple outlets noted the clip was originally posted by me and later removed, but it spread fast through fan accounts and Reddit-style reposts.

What made it “headline material” wasn’t just the stunt—it was the combination of:

• A clean, readable, high-energy action moment (the kind audiences replay in their head)
• The scale of the set-piece (trucks, speed, timing, precision)
• SRK’s commitment to performance inside the stunt design
• And a line that a lot of outlets repeated: that the shot was captured using a WarpCam® prototype—a compact action cinematography system designed for dynamic movement and ultra-close proximity coverage.

That “WarpCam® prototype” detail is one reason the conversation jumped from “cool BTS” to “how did they shoot that?”

What we built for Jawan: the WarpCam® ecosystem mindset

On Jawan, we weren’t treating camera like a passive observer. The goal was to design action and camera as a single mechanism—where the lens can live inside the action safely and repeatably.

For sequences like the bridge/truck beats, the press coverage repeatedly highlighted how the set-piece was staged and how the behind-the-scenes prep looked (harnesses, timing, guidance, rehearsals).

My approach on this project was to bring a system, not just a single rig:

• WarpCam® (prototype) for handheld hero-proximity:
  The “wrap-around” style, close-range energy is exactly where a compact action rig earns its place—especially when you’re moving fast, working tight, and want the camera to feel like it’s inside the choreography.
• WarpSpeed® / FPV integration (WarpCam® on an FPV drone):
  When the shot needs to accelerate, dive, or thread through moving elements, FPV becomes a powerful tool—but only if the camera payload is stable and purpose-built for action conditions.
• A workflow that respects both action safety and cinematography:
  The BTS coverage across outlets repeatedly shows what real stunt work looks like: harnesses, spotters, timing, and controlled execution.

India twice: scale, speed, and the realities of production

We went to India twice for Jawan, and the shoot itself was a study in contrast:

• Big studio days in Mumbai (controlled environments, hero performance, repeatable takes)
• Large outdoor unit days for the high-energy logistics—vehicles, speed, distance, timing, and heat

In my experience, India doesn’t just “do scale”—it does momentum. Once the machine is running, you either keep up, or you get left behind. That’s exactly why you need a camera system that can pivot quickly between handheld intimacy and full-tilt action coverage.

Collaboration: action is never a solo credit

Multiple Indian entertainment reports also highlighted that Jawan brought in multiple action directors, with names from different action disciplines contributing to the full spectrum of set-pieces.

I want to underline something: great action is always a team result.
From pre-rig to rehearsal, from driver timing to safety execution, from camera placement to final edit rhythm—it’s a chain, and every link matters.

A recurring detail in the coverage is how I publicly praised Red Chillies for the collaboration around the set-pieces and the “once-in-a-lifetime” scale of the gig.

Why the press reaction mattered to me

A lot of behind-the-scenes work never gets seen—by design. Safety planning, rehearsals, communication, risk reduction, and repeated “boring” precision is how you end up with spectacular action that looks effortless.

So when India’s press picked up that BTS moment, it wasn’t just hype. It was a rare window where mainstream coverage acknowledged:

• the craft behind the spectacle,
• the discipline behind the performance,
• and the innovation behind the camera choices.

That’s the part I’m proud of—because it’s the real story of action filmmaking.